Fresh from the intergalactic battles of Star Wars: Starfighter, acclaimed actor Daniel Ings has joined forces with Jessica Brown Findlay, a familiar face from Peaky Blinders and Downton Abbey, in Olivia Grant’s poignant directorial debut, the short film The Two Week Wait. The project, which delves into the emotionally charged landscape of in vitro fertilization (IVF), is poised for its premiere at the prestigious Indy Shorts Film Festival on Tuesday, marking a significant milestone for Grant as she steps behind the camera for the first time.
Joining Ings and Brown Findlay in this intimate exploration of mental health and relationships are a cast of seasoned performers, including Fenella Woolgar (Call the Midwife), Rick Warden (Happy Valley), and Sophie Colquhoun (Captain America). The narrative centers on a woman in her late thirties, portrayed by Brown Findlay, who grapples with a series of dissociative experiences as her mental health deteriorates amidst the emotional rollercoaster of IVF. Her journey is further complicated by her well-meaning but ultimately ineffective boyfriend, played by Ings.
The Two Week Wait is not only Grant’s directorial debut but also the inaugural project under her newly established production banner, Cavalry Films. This venture is a co-production with Symphony Films, a company helmed by actor-producers Rebecca Night (Wuthering Heights) and Harry Hadden-Paton (The Crown). The collaboration signifies a burgeoning creative force in British filmmaking, with a clear focus on nuanced storytelling.
From Actor to Director: Olivia Grant’s Personal Journey Fuels Artistic Vision
Olivia Grant, widely recognized for her compelling performances in beloved television series such as Stardust, Lark Rise to Candleford, and Indian Summers, revealed to The Hollywood Reporter the profound personal experiences that catalyzed her transition into filmmaking. The impetus for Grant’s directorial endeavor stems from a confluence of opportune timing and a newfound sense of urgency, deeply rooted in her own struggles with IVF.
“I’ve wanted to make my own work for a while now and, like many actors, had a feature script I’d been quietly writing for a couple of years,” Grant explained. “But there was always enough acting work not to focus exclusively on writing, and I was ambivalent about what I would write about. It was COVID that changed that; firstly because it cleared time to focus on generating new work and, secondly, because it coincided with my personal struggles with IVF and its mental toll.”
The isolation and introspection brought about by the pandemic provided Grant with the dedicated space needed to confront her experiences. She elaborated on the cathartic process of documenting her emotional journey: “As a way to hold on to my sanity, I ended up writing a 30,000-word diary documenting the rollercoaster of grappling with my infertility and transcribing the arguments my husband and I were having, which felt very specific to the process and uniquely gendered.” This deeply personal act of journaling became the fertile ground from which The Two Week Wait would eventually sprout.
Universal Themes Emerge from Specific Struggles
As the world began to reopen and Grant reconnected with her wider social circle, a striking realization began to dawn: the intensely personal anguish she had experienced during her IVF journey resonated with a much broader audience. “It was only as the world opened up again, and I was able to reconnect with more women and couples, that it became clear that many elements of my mental anguish were remarkably universal,” Grant shared.
The shame associated with infertility, the often-unfulfilled desire for a partner to fully comprehend and alleviate such pain, and the pervasive sense of dissociation that can accompany the demanding IVF process were not isolated incidents but shared experiences. Grant observed, “My shame around not being able to have a child and what that meant was normal; my partner’s difficulty salving that particular wound for me was perhaps predictable, and the intense sense of dissociation that permeated that period was again part of the experience for many.”
This realization highlighted a significant gap in public discourse and artistic representation. Grant noted the prevalent tendency for individuals undergoing IVF to internalize their struggles, often refraining from sharing the emotional toll with close friends and family. “Like a lot of women, I did not share the experience with my close friends and family and suddenly felt there was a real need to shed some light on what can be the profound interpersonal effects of this remarkably successful, albeit oft-harrowing, process.” It is this profound need for illumination and shared understanding that underpins the narrative of The Two Week Wait.
A Stepping Stone to a Larger Vision: Baby Mine
The short film The Two Week Wait is not merely a standalone project but serves as a crucial proof of concept for a feature-length narrative titled Baby Mine, which is slated for release in 2027. Both Daniel Ings and Jessica Brown Findlay are attached to reprise their roles in the longer format, signaling a continued commitment to exploring this complex subject matter. Amy Hubbard, a respected figure in casting, is also onboard, ensuring the continued high caliber of talent associated with the project.
The transition from a short film to a feature underscores Grant’s ambition to delve deeper into the intricacies of the IVF journey and its impact on relationships. The narrative potential of a feature-length film allows for a more expansive exploration of the psychological, emotional, and relational dynamics at play, offering audiences a more immersive and comprehensive understanding.
Artistic Acclaim and Industry Support
The talent assembled for The Two Week Wait reflects the compelling nature of Grant’s vision. Daniel Ings expressed his admiration for Grant’s emerging directorial voice, stating, "Olivia is a singular new voice in British filmmaking, with a lot to say on some fairly universal themes affecting many women. Getting to work with her, Nanu Segal [cinematographer] and Jessica Brown Findlay on this beautiful film was an embarrassment of creative riches. You haven’t heard the last of Olivia Grant." This sentiment underscores the collaborative spirit and the high regard Grant commands within the industry.
Rebecca Night, co-head of Symphony Films, echoed Ings’ enthusiasm, describing the script as "so instantly unique, compelling and beautiful." She further elaborated on the film’s thematic depth: "[It] deals with the choices we make, the relationships we foster, and people seeking love and connection as they journey together through life’s struggles. Full of drama, yes, but so witty and heart-wrenching too." Night’s assessment highlights the film’s ability to balance profound emotional weight with moments of levity and sharp insight, a testament to Grant’s writing and directing prowess.
The IVF Landscape: Context and Statistics
The decision by Olivia Grant to focus on the IVF experience within her filmmaking is particularly timely. Assisted reproductive technologies (ART) have become increasingly prevalent globally, offering hope to millions struggling with infertility. However, the journey is far from simple, often characterized by significant emotional, financial, and physical strain.
Globally, the number of babies born through IVF has steadily increased. In the United States, for instance, over 250,000 IVF cycles were performed in 2021, resulting in over 80,000 live births, according to data from the Society for Assisted Reproductive Technology (SART). Similar trends are observed across Europe and other developed nations. Despite these successes, the emotional burden on individuals and couples is substantial. Studies have indicated that the psychological distress associated with IVF can be comparable to that experienced by individuals with serious medical conditions such as cancer or HIV. This includes heightened levels of anxiety, depression, and marital strain.
The “two-week wait” itself, the period between embryo transfer and a pregnancy test, is notoriously stressful. This period is often characterized by intense anticipation, self-monitoring for symptoms, and a pervasive sense of uncertainty, which can significantly impact an individual’s mental well-being. Grant’s film directly addresses this critical and often isolating phase of the IVF process, bringing it into the public consciousness.
Broader Implications and Future Impact
The emergence of The Two Week Wait and its subsequent feature-length development, Baby Mine, signals a growing trend towards greater representation of reproductive health issues in cinema. For decades, infertility and its treatments have been largely relegated to private conversations or alluded to in broader narratives. Films like Grant’s have the potential to normalize these discussions, foster empathy, and provide a sense of validation for those who have navigated similar challenges.
The film’s focus on the dissociative experiences and mental toll of IVF also highlights the critical need for increased mental health support within fertility clinics and broader societal understanding. By shedding light on the often-unseen emotional labor and psychological impact, Grant’s work could contribute to advocacy for better patient care and destigmatization of mental health struggles related to fertility treatments.
The success of The Two Week Wait at the Indy Shorts Film Festival, followed by the anticipated release of Baby Mine, could pave the way for more nuanced and authentic portrayals of reproductive journeys in the entertainment industry. This, in turn, can lead to greater public awareness, improved support systems, and ultimately, a more compassionate societal approach to the complexities of building a family. The film is not just a story; it is a conversation starter, a much-needed exploration of a deeply human experience that touches millions.
